ઇરફાનના પુત્ર બાબિલે કર્યો ખુલાસો, ભારતીય સિનેમાની કઇ પરિસ્થિતિ સામે લડી રહ્યા તેમના પિતા

બૉલીવુડના દિગ્ગજ અભિનેતા ઇરફાન ખાને 29 એપ્રિલ 2020ના રોજ દુનિયાને અલવિદા કહ્યું હતું. ઇરફાનના નિધન બાદ તેમનો પુત્ર બાબિલ સોશિયલ મીડિયો પર તેમના પિતા વિશે ઘણી વાતો શેર કરતો રહે છે. હાલમાં જ ફિલ્મ ઇન્ડસ્ટ્રીમાં ચાલી રહેલા નેપોટિઝમના મુદ્દા પર બાબિલે એક દમદાર પોસ્ટ શેર કરી છે. જે અંતર્ગત બાબિલે કહ્યું કે, તેમના પિતા કઇ-કઇ પરિસ્થિતિથી હાર્યા હતા.

મુંબઇઃ બૉલીવુડ એક્ટર સુશાંતસિંહ રાજપૂતના મોત બાદ ઇન્ડસ્ટ્રીનું અસલી રૂપ સામે આવી રહ્યું છે. દરેક વ્યક્તિ નેપોટિઝમ, ફેવરેટિઝમ, ઇન્ડસ્ટ્રીમાં થનારા ભેદભાવ અને તેના વિશે લોકો વાત કરી રહ્યા છે.

સેલેબ્સ પણ સોશિયલ મીડિયા પર પોતાનો મત રજૂ કરી રહ્યા છે. ઇરફાનના નિધન બાદ તેમનો પુત્ર બાબિલ સોશિયલ મીડિયા પર તેમના પિતા વિશે ઘણી વાત શેર કરતો રહે છે. હાલમાં જ તેમણે નેપોટિઝમના મુદ્દાને લઇ એક પાવરફુલ પોસ્ટ શેર કરી છે.

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  You know one of the most important things my father taught me as a student of cinema? Before I went to film school, he warned me that I’ll have to prove my self as Bollywood is seldom respected in world cinema and at these moments I must inform about the indian cinema that’s beyond our controlled Bollywood. Unfortunately, it did happen. Bollywood was not respected, no awareness of 60’s - 90’s Indian cinema or credibility of opinion. There was literally one single lecture in the world cinema segment about indian cinema called ‘Bollywood and Beyond’, that too gone through in a class full of chuckles. it was tough to even get a sensible conversation about the real Indian cinema of Satyajit Ray and K.Asif going. You know why that is? Because we, as the Indian audience, refused to evolve. My father gave his life trying to elevate the art of acting in the adverse conditions of noughties Bollywood and alas, for almost all of his journey, was defeated in the box office by hunks with six pack abs delivering theatrical one-liners and defying the laws of physics and reality, photoshopped item songs, just blatant sexism and same-old conventional representations of patriarchy (and you must understand, to be defeated at the box office means that majority of the investment in Bollywood would be going to the winners, engulfing us in a vicious circle). Because we as an audience wanted that, we enjoyed it, all we sought was entertainment and safety of thought, so afraid to have our delicate illusion of reality shattered, so unaccepting of any shift in perception. All effort to explore the potential of cinema and its implications on humanity and existentialism was at best kept by the sidelines. Now there is a change, a new fragrance in the wind. A new youth, searching for a new meaning. We must stand our ground, not let this thirst for a deeper meaning be repressed again. A strange feeling beset when Kalki was trolled for looking like a boy when she cut her hair short, that is pure abolishment of potential. (Although I resent that Sushant’s demise has now become a fluster of political debates, but if a positive change is manifesting, in the way of the Taoist, we embrace it.)

  A post shared by Babil Khan (@babil.i.k) on Jul 8, 2020 at 12:42am PDT

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  View this post on Instagram

  You know one of the most important things my father taught me as a student of cinema? Before I went to film school, he warned me that I’ll have to prove my self as Bollywood is seldom respected in world cinema and at these moments I must inform about the indian cinema that’s beyond our controlled Bollywood. Unfortunately, it did happen. Bollywood was not respected, no awareness of 60’s - 90’s Indian cinema or credibility of opinion. There was literally one single lecture in the world cinema segment about indian cinema called ‘Bollywood and Beyond’, that too gone through in a class full of chuckles. it was tough to even get a sensible conversation about the real Indian cinema of Satyajit Ray and K.Asif going. You know why that is? Because we, as the Indian audience, refused to evolve. My father gave his life trying to elevate the art of acting in the adverse conditions of noughties Bollywood and alas, for almost all of his journey, was defeated in the box office by hunks with six pack abs delivering theatrical one-liners and defying the laws of physics and reality, photoshopped item songs, just blatant sexism and same-old conventional representations of patriarchy (and you must understand, to be defeated at the box office means that majority of the investment in Bollywood would be going to the winners, engulfing us in a vicious circle). Because we as an audience wanted that, we enjoyed it, all we sought was entertainment and safety of thought, so afraid to have our delicate illusion of reality shattered, so unaccepting of any shift in perception. All effort to explore the potential of cinema and its implications on humanity and existentialism was at best kept by the sidelines. Now there is a change, a new fragrance in the wind. A new youth, searching for a new meaning. We must stand our ground, not let this thirst for a deeper meaning be repressed again. A strange feeling beset when Kalki was trolled for looking like a boy when she cut her hair short, that is pure abolishment of potential. (Although I resent that Sushant’s demise has now become a fluster of political debates, but if a positive change is manifesting, in the way of the Taoist, we embrace it.)

  A post shared by Babil Khan (@babil.i.k) on Jul 8, 2020 at 12:42am PDT

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  View this post on Instagram

  You know one of the most important things my father taught me as a student of cinema? Before I went to film school, he warned me that I’ll have to prove my self as Bollywood is seldom respected in world cinema and at these moments I must inform about the indian cinema that’s beyond our controlled Bollywood. Unfortunately, it did happen. Bollywood was not respected, no awareness of 60’s - 90’s Indian cinema or credibility of opinion. There was literally one single lecture in the world cinema segment about indian cinema called ‘Bollywood and Beyond’, that too gone through in a class full of chuckles. it was tough to even get a sensible conversation about the real Indian cinema of Satyajit Ray and K.Asif going. You know why that is? Because we, as the Indian audience, refused to evolve. My father gave his life trying to elevate the art of acting in the adverse conditions of noughties Bollywood and alas, for almost all of his journey, was defeated in the box office by hunks with six pack abs delivering theatrical one-liners and defying the laws of physics and reality, photoshopped item songs, just blatant sexism and same-old conventional representations of patriarchy (and you must understand, to be defeated at the box office means that majority of the investment in Bollywood would be going to the winners, engulfing us in a vicious circle). Because we as an audience wanted that, we enjoyed it, all we sought was entertainment and safety of thought, so afraid to have our delicate illusion of reality shattered, so unaccepting of any shift in perception. All effort to explore the potential of cinema and its implications on humanity and existentialism was at best kept by the sidelines. Now there is a change, a new fragrance in the wind. A new youth, searching for a new meaning. We must stand our ground, not let this thirst for a deeper meaning be repressed again. A strange feeling beset when Kalki was trolled for looking like a boy when she cut her hair short, that is pure abolishment of potential. (Although I resent that Sushant’s demise has now become a fluster of political debates, but if a positive change is manifesting, in the way of the Taoist, we embrace it.)

  A post shared by Babil Khan (@babil.i.k) on Jul 8, 2020 at 12:42am PDT

આ પોસ્ટમાં તેમણે કહ્યું કે, ઇરફાન સિનેમા જગતના કેટલાંક દશ્યો વિરુદ્ધ અવાજ ઉઠાવતા રહ્યા પરંતુ છેલ્લે તે હારી ગયા. આ સાથે જ બાબિલે 2 તસવીર પણ શેર કરી છે.

આ તસવીરમાં બાબિલ પોતાના પિતા સાથે જોવા મળી રહ્યા છે. ફોટો શેર કરી બાબિલે લખ્યું કે, શું તમે જાણો છો કે મારા પપ્પાએ મને સિનેમા સ્ટૂડન્ટ સંબંધિત કઇ વાતની શીખવી હતી.?

આ વિશે બાબિલે આગળ વાત કરતા વધુમાં જણાવ્યું કે, ‘ફિલ્મ સ્કૂલ જવા પહેલા તેમણે મને ચેતવણી આપી હતી કે, મારે જાતે જ સાબિત કરવું પડશે. કારણ કે બૉલીવુડ દુનિયાના સિનેમા જગતમાં ક્યારેક જ સન્માનિત થાય છે. તો એવા સમયે મારે ભારતીય સિનેમા વિશે કઇંક જણાવવું જોઇએ, જે બૉલીવુડના કંટ્રોલની બહાર છે. દુર્ભાગ્યવશ મારા ક્લાસ પણ આવું જ થયું. બૉલીવુડ માટે કોઇ સમ્માનની વાત ન હતી. 60-90ના દશકામાં ભારતીય સિનેમાને લઇને કોઇ પણ પ્રકારની જાગૃતતા ન હતી.’

બાબિલે તેમના પિતાના સંઘર્ષ વિશે લખ્યું કે, ‘મારા પિતાએ બૉલીવુડની મુશ્કેલ પરિસ્થિતિમાં પણ અભિનયની કલાને સમજાવવામાં જિંદગી લગાવી હતી. પરંતુ તે તમામ સમય બૉક્સ ઑફિસ પર 6 પેક્સ એબ્સથી હારતા રહ્યા. હારતા રહ્યા તેઓ હાસ્યાસ્પદ વનલાઇનર એક્ટરથી, ફિજિક્સના નિયમનોને પકડાક આપવાવાળા, ફોટોશોપ્ડ આઇટમ્સ સોન્ગથી, સેક્સિઝમથી અને પિતૃસતાના તેમના જૂના સંમેલનથી...કારણ કે, આપણે એક ઑડિયન્સની રીતે બધા તેમને પસંદ કરતા હતા. આપણે લોકોને માત્ર એન્ટરટેનમેન્ટ જોઇતું હતું. એટલા માટે આપણા વિચારમાં કોઇ બદલાવ જોવા મળ્યો નથી.’